1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
6 version that you are working on. See TRANSLATION for details.
10 @section Expressive marks
19 @node Attached to notes
20 @subsection Attached to notes
29 @unnumberedsubsubsec Articulations
35 A variety of symbols can appear above and below notes to indicate
36 different characteristics of the performance. They are added to a note
37 by adding a dash and the character signifying the
38 articulation. They are demonstrated here
40 @lilypondfile[quote,ragged-right]{script-abbreviations.ly}
42 The meanings of these shorthands can be changed. See
43 @file{ly/@/script@/-init@/.ly} for examples.
45 The script is automatically placed, but the direction can be forced as
46 well. Like other pieces of LilyPond code, @code{_} will place them
47 below the staff, and @code{^} will place them above.
49 @lilypond[quote,ragged-right,fragment,verbatim]
53 Other symbols can be added using the syntax
54 @var{note}@code{\}@var{name}. Again, they
55 can be forced up or down using @code{^} and @code{_},
58 @lilypond[quote,ragged-right,verbatim,fragment,relative=2]
59 c\fermata c^\fermata c_\fermata
74 @cindex organ pedal marks
92 Here is a chart showing all scripts available,
94 @lilypondfile[ragged-right,quote]{script-chart.ly}
99 The vertical ordering of scripts is controlled with the
100 @code{script-priority} property. The lower this number, the closer it
101 will be put to the note. In this example, the
102 @internalsref{TextScript} (the sharp symbol) first has the lowest
103 priority, so it is put lowest in the first example. In the second, the
104 prall trill (the @internalsref{Script}) has the lowest, so it is on the
105 inside. When two objects have the same priority, the order in which
106 they are entered decides which one comes first.
108 @lilypond[verbatim,relative=3,ragged-right,fragment,quote]
109 \once \override TextScript #'script-priority = #-100
110 a4^\prall^\markup { \sharp }
112 \once \override Script #'script-priority = #-100
113 a4^\prall^\markup { \sharp }
119 Program reference: @internalsref{Script}.
124 These signs appear in the printed output but have no effect on the
125 MIDI rendering of the music.
129 @unnumberedsubsubsec Dynamics
150 Absolute dynamic marks are specified using a command after a note
151 @code{c4\ff}. The available dynamic marks are @code{\ppppp},
152 @code{\pppp}, @code{\ppp},
153 @code{\pp}, @code{\p}, @code{\mp}, @code{\mf}, @code{\f}, @code{\ff},
154 @code{\fff}, @code{\ffff}, @code{\fp}, @code{\sf}, @code{\sff},
155 @code{\sp}, @code{\spp}, @code{\sfz}, and @code{\rfz}.
157 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
158 c\ppp c\pp c \p c\mp c\mf c\f c\ff c\fff
159 c2\fp c\sf c\sff c\sp c\spp c\sfz c\rfz
166 A crescendo mark is started with @code{\<} and terminated with
167 @code{\!} or an absolute dynamic. A decrescendo is started with
168 @code{\>} and is also terminated with @code{\!} or an absolute
169 dynamic. @code{\cr} and @code{\decr} may be used instead of
170 @code{\<} and @code{\>}. Because these marks are bound to notes, you must
171 use spacer notes if multiple marks are needed during one note
173 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
175 << f1 { s4 s4\< s4\! \> s4\! } >>
179 A hairpin normally starts at the left edge of the beginning note
180 and ends on the right edge of the ending note. If the ending
181 note falls on the downbeat, the hairpin ends on the immediately
182 preceding barline. This may be modified by setting the
183 @code{hairpinToBarline} property,
185 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
186 \set hairpinToBarline = ##f
190 In some situations the @code{\espressivo} articulation mark may
191 be suitable to indicate a crescendo and decrescendo on the one note,
193 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
194 c2 b4 a g1\espressivo
197 This may give rise to very short hairpins. Use @code{minimum-length}
198 in @internalsref{Voice}.@internalsref{Hairpin} to lengthen them, for
202 \override Voice.Hairpin #'minimum-length = #5
208 Hairpins may be printed with a circled tip (al niente notation) by
209 setting the @code{circled-tip} property,
211 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
212 \override Hairpin #'circled-tip = ##t
222 You can also use text saying @emph{cresc.} instead of hairpins
224 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
235 You can also supply your own texts
236 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
237 \set crescendoText = \markup { \italic "cresc. poco" }
238 \set crescendoSpanner = #'dashed-line
242 To create new dynamic marks or text that should be aligned
243 with dynamics, see @ref{New dynamic marks}.
245 Vertical positioning of dynamics is handled by
246 @internalsref{DynamicLineSpanner}.
251 Dynamics that occur at, begin on, or end on, the same note
252 will be vertically aligned. If you want to ensure that dynamics
253 are aligned when they do not occur on the same note, you can
254 increase the @code{staff-padding} property.
257 \override DynamicLineSpanner #'staff-padding = #4
260 You may also use this property if the dynamics are colliding
263 Crescendi and decrescendi that end on the first note of a
264 new line are not printed. To change this behavior, use
267 \override Score.Hairpin #'after-line-breaking = ##t
270 Text style dynamic changes (such as @emph{cresc.} and @emph{dim.})
272 dashed line showing their extent. To surpress printing this line, use
275 \override DynamicTextSpanner #'dash-period = #-1.0
283 @funindex \dynamicDown
285 @funindex \dynamicNeutral
286 @code{\dynamicNeutral}.
291 Program reference: @internalsref{DynamicText}, @internalsref{Hairpin}.
292 Vertical positioning of these symbols is handled by
293 @internalsref{DynamicLineSpanner}.
303 * Laissez vibrer ties::
309 @unnumberedsubsubsec Ties
314 A tie connects two adjacent note heads of the same pitch. The tie in
315 effect extends the length of a note. Ties should not be confused with
316 slurs, which indicate articulation, or phrasing slurs, which indicate
317 musical phrasing. A tie is entered using the tilde symbol @samp{~}
319 @lilypond[quote,ragged-right,fragment,verbatim]
320 e' ~ e' <c' e' g'> ~ <c' e' g'>
323 When a tie is applied to a chord, all note heads whose pitches match
324 are connected. When no note heads match, no ties will be created. Chords
325 may be partially tied by placing the tie inside the chord,
327 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
328 <c~ e g~ b> <c e g b>
331 A tie is just a way of extending a note duration, similar to the
332 augmentation dot. The following example shows two ways of notating
333 exactly the same concept
335 @lilypond[quote,fragment,ragged-right]
336 \time 3/4 c'2. c'2 ~ c'4
340 Ties are used either when the note crosses a bar line, or when dots
341 cannot be used to denote the rhythm. When using ties, larger note
342 values should be aligned to subdivisions of the measure, such as
344 @lilypond[fragment,quote,ragged-right]
346 r8 c8 ~ c2 r4 | r8^"not" c2 ~ c8 r4
350 If you need to tie a lot of notes over bars, it may be easier to use
351 automatic note splitting (see @ref{Automatic note splitting}). This
352 mechanism automatically splits long notes, and ties them across bar
357 When a second alternative of a repeat starts with a tied note, you
358 have to repeat the tie. This can be achieved with @code{\repeatTie},
360 @lilypond[fragment,quote,ragged-right,relative=2]
364 @cindex repeating ties
365 @cindex volta brackets and ties
369 Ties are sometimes used to write out arpeggios. In this case, two tied
370 notes need not be consecutive. This can be achieved by setting the
371 @code{tieWaitForNote} property to true. The same feature is also useful,
372 for example, to tie a tremolo to a chord. For example,
374 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
375 \set tieWaitForNote = ##t
376 \grace { c16[~ e~ g]~ } <c, e g>2
377 \repeat tremolo 8 { c32~ c'~ } <c c,>1
378 e8~ c~ a~ f~ <e' c a f>2
381 Ties may be engraved manually by changing the @code{tie-configuration}
382 property. The first number indicates the distance from the center
383 of the staff in staff-spaces, and the second number indicates the
384 direction (1=up, -1=down).
386 @lilypond[fragment,verbatim,relative=1,ragged-right,quote]
388 \override TieColumn #'tie-configuration =
389 #'((0.0 . 1) (-2.0 . 1) (-4.0 . 1))
401 @funindex \tieNeutral
413 In this manual: @ref{Automatic note splitting}.
415 Program reference: @internalsref{Tie}.
420 Switching staves when a tie is active will not produce a slanted tie.
422 Changing clefs or octavations during a tie is not really
423 well-defined. In these cases, a slur may be preferable.
427 @unnumberedsubsubsec Slurs
431 A slur indicates that notes are to be played bound or
432 @emph{legato}. They are entered using parentheses
434 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
435 f( g a) a8 b( a4 g2 f4)
439 The direction of a slur can be specified with
440 @code{\slur@emph{DIR}}, where @code{@emph{DIR}} is
441 either @code{Up}, @code{Down}, or @code{Neutral} (automatically
444 However, there is a convenient shorthand for forcing slur
445 directions. By adding @code{_} or @code{^} before the opening
446 parentheses, the direction is also set. For example,
448 @lilypond[relative=2,ragged-right,quote,verbatim,fragment]
452 Only one slur can be printed at once. If you need to print a long
453 slur over a few small slurs, please see @ref{Phrasing slurs}.
458 Some composers write two slurs when they want legato chords. This can
459 be achieved in LilyPond by setting @code{doubleSlurs},
461 @lilypond[verbatim,ragged-right,relative,fragment,quote]
462 \set doubleSlurs = ##t
463 <c e>4 ( <d f> <c e> <d f> )
473 @funindex \slurNeutral
475 @funindex \slurDashed
477 @funindex \slurDotted
484 Program reference: @internalsref{Slur}.
488 @unnumberedsubsubsec Phrasing slurs
490 @cindex phrasing slurs
491 @cindex phrasing marks
493 A phrasing slur (or phrasing mark) connects notes and is used to
494 indicate a musical sentence. It is written using @code{\(} and @code{\)}
497 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
498 \time 6/4 c'\( d( e) f( e) d\)
501 Typographically, the phrasing slur behaves almost exactly like a
502 normal slur. However, they are treated as different objects. A
503 @code{\slurUp} will have no effect on a phrasing slur; instead, use
504 @code{\phrasingSlurUp}, @code{\phrasingSlurDown}, and
505 @code{\phrasingSlurNeutral}.
507 You cannot have simultaneous phrasing slurs.
512 @funindex \phrasingSlurUp
513 @code{\phrasingSlurUp},
514 @funindex \phrasingSlurDown
515 @code{\phrasingSlurDown},
516 @funindex \phrasingSlurNeutral
517 @code{\phrasingSlurNeutral}.
522 Program reference: @internalsref{PhrasingSlur}.
525 @node Laissez vibrer ties
526 @unnumberedsubsubsec Laissez vibrer ties
527 @cindex Laissez vibrer
528 @cindex Ties, laissez vibrer
530 L.v. ties (laissez vibrer) indicate that notes must not be damped at the
531 end. It is used in notation for piano, harp and other string and
532 percussion instruments. They can be entered using @code{\laissezVibrer},
534 @lilypond[fragment,ragged-right,verbatim,relative=1]
535 <c f g>\laissezVibrer
541 @internalsref{LaissezVibrerTie}
542 @internalsref{LaissezVibrerTieColumn}
545 @lsr{connecting,laissez-vibrer-ties.ly}
549 @unnumberedsubsubsec Breath marks
551 Breath marks are entered using @code{\breathe}
553 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
560 The glyph of the breath mark can be tuned by overriding the
561 @code{text} property of the @code{BreathingSign} layout object with
562 any markup text. For example,
563 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
565 \override BreathingSign #'text
566 = #(make-musicglyph-markup "scripts.rvarcomma")
573 Program reference: @internalsref{BreathingSign}.
575 Examples: @lsr{expressive,breathing-sign.ly}
578 @node Falls and doits
579 @unnumberedsubsubsec Falls and doits
581 Falls and doits can be added to notes using the @code{\bendAfter}
584 @lilypond[fragment,ragged-right,relative=2]
585 \override Score.SpacingSpanner #'shortest-duration-space = #3.0
598 * Analysis brackets::
602 @unnumberedsubsubsec Glissando
607 A glissando is a smooth change in pitch. It is denoted by a line or a
608 wavy line between two notes. It is requested by attaching
609 @code{\glissando} to a note
611 @lilypond[quote,ragged-right,fragment,relative=2,verbatim]
613 \override Glissando #'style = #'zigzag
620 @lilypond[quote,ragged-right,verbatim]
621 I = \once \override NoteColumn #'ignore-collision = ##t
624 { \oneVoice \stemDown f2 \glissando \stemNeutral a } \\
625 { \oneVoice \I c2 \glissando \I d, }
633 Program reference: @internalsref{Glissando}.
636 @lsr{expressive,glissando.ly}, @lsr{expressive,line-styles.ly}
641 Printing text over the line (such as @emph{gliss.}) is not supported.
645 @unnumberedsubsubsec Arpeggio
651 You can specify an arpeggio sign (also known as broken chord) on a
652 chord by attaching an @code{\arpeggio} to a chord
654 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
658 A square bracket on the left indicates that the player should not
661 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
666 The direction of the arpeggio is sometimes denoted by adding an
667 arrowhead to the wiggly line
669 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
681 When an arpeggio crosses staves, you may attach an arpeggio to the chords
682 in both staves and set
683 @internalsref{PianoStaff}.@code{connectArpeggios}
685 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
687 \set PianoStaff.connectArpeggios = ##t
688 \new Staff { <c' e g c>\arpeggio }
689 \new Staff { \clef bass <c,, e g>\arpeggio }
693 @c TODO: cross-voice arpeggio example?
694 @c such an example is already in LSR -J.Mandereau
699 @funindex \arpeggioUp
701 @funindex \arpeggioDown
702 @code{\arpeggioDown},
703 @funindex \arpeggioNeutral
704 @code{\arpeggioNeutral},
705 @funindex \arpeggioBracket
706 @code{\arpeggioBracket}.
711 Notation manual: @ref{Ties}, for writing out arpeggios.
713 Program reference: @internalsref{Arpeggio}.
718 It is not possible to mix connected arpeggios and unconnected
719 arpeggios in one @internalsref{PianoStaff} at the same point in time.
723 @unnumberedsubsubsec Trills
725 Short trills are printed like normal articulation; see @ref{Articulations}.
727 Long running trills are made with @code{\startTrillSpan} and
728 @code{\stopTrillSpan},
730 @lilypond[verbatim,ragged-right,relative=2,quote,fragment]
732 << { c1 \startTrillSpan }
733 { s2. \grace { d16[\stopTrillSpan e] } } >>
737 @cindex Pitched trills
739 Trills that should be executed on an explicitly specified pitch can be
740 typeset with the command @code{pitchedTrill},
742 @lilypond[ragged-right,verbatim,fragment,relative=1,quote]
743 \pitchedTrill c4\startTrillSpan fis
748 The first argument is the main note. The pitch of the second
749 is printed as a stemless note head in parentheses.
754 @code{\startTrillSpan},
755 @funindex \startTrillSpan
756 @code{\stopTrillSpan}.
757 @funindex \stopTrillSpan
762 Program reference: @internalsref{TrillSpanner}.
765 @node Analysis brackets
766 @unnumberedsubsubsec Analysis brackets
768 @cindex phrasing brackets
769 @cindex musicological analysis
770 @cindex note grouping bracket
772 Brackets are used in musical analysis to indicate structure in musical
773 pieces. LilyPond supports a simple form of nested horizontal
774 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
775 to @internalsref{Staff} context. A bracket is started with
776 @code{\startGroup} and closed with @code{\stopGroup}
778 @lilypond[quote,ragged-right,verbatim]
781 c4\startGroup\startGroup
784 c4\stopGroup\stopGroup
788 \Staff \consists "Horizontal_bracket_engraver"
794 Program reference: @internalsref{HorizontalBracket}.